Mar 162012
 

Find out how this atmospheric, painterly animated short was created using Maya, Photoshop and After Effects. Watch the film here too

For the Remainder depicts the last moments of a house cat who bids farewell to its home before leaving to perish. The short was a graduation project created by Omer Ben David while studying at the Bezalel Academy of Arts and Design in Jerusalem, Israel. Ben David first began working on the plot in November last year.

“I was dwelling on a concept of a cat that leaves his house and searches for his final resting place for some time before then,” he says. “I pondered on that notion since hearing the rumour that old cats sometime leave their home to die somewhere else unseen by their beloved ones or enemies. I felt that this essence of a story is very poetic and thus should be treated as a song rather than a narrative.”

First impressions

After developing the main plot, the director carefully considered the importance of the film’s characters and what role each would play.

“From the beginning, the story was about a cat and a house,” Ben David explains. “The cat’s owner was also a main character but I wasn’t sure if he would be performing or his presence just suggested. The spider came somewhat in the middle of the storyboarding stage, when I was searching for a death motif to allow the cat to deal with.”

“I was greatly inspired by sketches and calligraphy, and some colour blocking when searching for the look of the characters. I figured the house, as a character, should be mostly colour blocked while the cat should be wired so they were in contrast.”

Creating perfect brush strokes

The film’s unique style was inspired by a number of sources. “I was very moved by a series of paintings by Lukasz Pazera called Postcards from the Zone and his brilliant Dog of Zone, which I figured would be awesome animated,” Ben David says.

While researching, the director also watched Andrei Tarkovsky’s film Stalker. “I thought it to be the exact poem-like atmosphere I was searching for both visually and musically. I love the ambiance and slow rhythm,” he says. “I was also greatly inspired by color block paintings such as Gerhard Mozsi’s, and the dreamy feel and pace in animated films such as Tekkonkinkreet or Ghost in the Shell which I adore.”

One of the film’s main influences was a series of paintings by Lukasz Pazera called Postcards from the Zone. You can see similarities in tone and style between them and For the Remainder

Ben David’s extensive research and inspirations helped him to develop the unique painterly style of the film. In order to achieve this in 3D, he turned to the powerful tools of Maya. 

“This software was vital to production,” he explains. “It was an inherent rendering method that got the look for my characters and objects, combined with the overlapping textures on the sets. Photoshop was of course crucial for painting the textures, but Maya allowed me to rig and control almost everything I needed.”

The film’s style, however, also presented some technical challenges. “The whole sketchiness and painterly look was the biggest technical issue,” says Ben David. “I did a lot of research about NPR (non photo realistic) rendering before developing the technique for creating it, and it was pretty much an experiment throughout the entire process. I didn’t have a clear point of reference on a technical level on how to achieve this look, and so I did a lot of testing until I reached a certain point where I knew that the composited render would satisfy me.”

Despite extensive research and testing, Ben David managed to complete the film within a fairly short time period. “It took me around nine months to finish the short,” he says. “I did some touch-ups, on and off, for a few months afterwards as I was not completely happy with some renders and I’ve worked some more on mastering the soundtrack with Onili. I’m very pleased with the final result. Both on the aesthetics and the feel of it.”

Like this film?

Check out the selection of other awesome animations on our shorts page

Make sure you visit next week for more Friday Animation Fun!



Mar 122012
 

iClone's new toon shader

Real-time 3D animation tool, iClone, has everything you need to set up your directorial 
debut. But is it too limited, asks Paul Champion?

PRICE
: $200.
 Upgrade from $120. 

Other editions: Standard, $80


PLATFORM
: Windows


MAIN FEATURES:

  • Real-time animation

  • In-screen motion editing and puppeteering

  • Advanced timeline editing with transition curve

  • Animate in real-time with motion-capture device



DEVELOPER: Reallusion

Converting your finished story idea into a pre-viz or polished animation often presents some daunting challenges, and selecting the right software applications to use can be a key factor in the time (and cost) spent completing it.

iClone5 Pro offers a happy medium between high-end applications that have seemingly endless options to tweak, and frustratingly feeble, user-unfriendly low-end software. The latest version of iClone has new animation tools, is still a breeze to use and remains competitively priced.


iClone5

Now you can create your own version of Pixar’s The Incredibles, in a park and on a merry-go-round!

If you’re unfamiliar with iClone, it’s primarily a template-based hassle-free solution for real-time animation with plenty of bells and whistles. In terms of workflow, you’re limited to working with the rudimentary content supplied with the application, unless you’re prepared to buy additional assets via Reallusion’s Content Marketplace (which always seems to have some sort of deal on offer).

Getting your own assets into iClone5 Pro is quick and easy, but it requires Reallusion’s 3DXchange4, which converts files from applications such as ZBrush, Photoshop, Blender, Poser, Daz Studio, Vue and Maya, and costs $80 for the Standard version. You’ll need 3DXchange4 Pro ($120) to use assets in FBX, 3DS, OBJ and SKP formats. 


Pre-viz users or anyone presenting a concept pitch to clients should find that the content provided is more than adequate for demonstration, where the actual look of assets is less relevant. End users, who will no doubt grow tired of the limited content provided, will be disappointed that they have to shell out for 3DXchange to import more material.

With the assets in place, it’s time to animate, and there are many new tools to help you with this.



iClone5

Whether it’s sexy girls, gym kits or vampires you’re after, the marketplace has plenty of assets for you to buy

New features



Direct Puppet lets you record your actor’s animation in real time, and if necessary lock body parts to locations. MixMoves enables seamless blending between motions. Body Motion Puppeteering enables the user to control the animation speed and direction. 


Simple floor contact is taken care of with Human IK Motion Editing for Actors, and allows props (which can now be animated in real time) to be held onto realistically. The Timeline has been updated so that animation curves can be varied in playback by adding curve adjustments such as Ease In and Ease Out. For physics animation there are Rigid and Soft Body options for simulation, and other uses such as game prototyping.


iClone5

Effects can help to enhance your movies, but they are limited to a maximum of five within a project

The premium new animation tool being touted for use with iClone5 Pro is the Mocap Device plug-in. With this you can act out your animations in real-time – the recorded mocap data is then applied to actors.

At $140, this is a lot cheaper than buying your own professional mocap studio, although it requires you to have an Xbox 360 with Kinect. It’s also only compatible with the Pro edition.

The plug-in is a significant add-on that falls outside the remit of this review. Judging by forum responses, however, it’s a successful product and great for anyone who wants to physically generate their own movement.


Other notable tools and settings, with which Reallusion is catching up with market competitors rather than introducing groundbreaking innovations, include Ambient Occlusion, which improves the quality of visual output with barely any impact on render times; post-FX tools for colour and blur, which are easy to apply; and cartoon rendering, which can be achieved with just a few clicks and some minor texture corrections. 


iClone5

Rigid body simulations can pep up high-speed chases. In iClone5 Pro they are easy to deploy

There’s still plenty of room for improvement in the renderer. The options are minimal and simplistic – which is part of the general charm of iClone, but it doesn’t always do justice to the end result. Multiple cameras and Picture-In-Picture features offer greater control between shots. Much-requested duplication settings enable you to instance objects with ease, and adjustable pivots, snapping and aligning tools are now possible for objects.


More resource-hungry improvements include higher poly counts for actors, with notable increases to head meshes, which enable more natural deformations. In practice this works far better than before, and since faces are areas that most viewers’ eyes are naturally drawn to, it’s a clearly visible improvement. However, it can still be difficult and time-consuming to tweak.

iClone's new toon shader

The new Toon Shader is found in the Atmosphere section of the Stage tab, and can be adjusted for your project needs

Cartoon character facial controls have been advanced to include exaggeration. Height Map Terrains now allow bigger landscapes, but they are limited to just five. Smart iProps have been updated for game-like interaction.


During testing, these new tools all worked admirably, yet iClone crashed a number of times for no apparent reason. When pushed to reasonable extremes for any shot – such as 20 actors set up with different parameters and animations applied – iClone responded well. But other times it would crash with, for example, a fairly empty scene during terrain set-up. Ordinarily, this would only be a minor annoyance, but since there’s no autosave option in the program, it becomes more 
of a frustration.


Hardware-wise, iClone doesn’t require an overly demanding system. Rather misleadingly, it’s listed as being 32-bit and 64-bit Windows compatible, but it’s not actually a native 64-bit release, so it won’t take advantage of any extra memory installed over 32-bit limitations. It’s rumoured that a 64-bit update will be released, although this was unconfirmed as we went to press.


Overall, iClone5 Pro remains an easy-to-use application, and it can be a real time-saver for pre-viz work and presentations. The learning curve isn’t too steep, and setting up shots is intuitive. For existing iClone users, it should be a no-brainer to upgrade because content from previous versions is compatible, the upgrade price is good, and the new tools (and mocap plug-in, if you choose to buy it) will enhance its usability. New users will need to assess whether they have the funds for additional content and a copy of 3DXchange.

VERDICT

PROS

  • Simple for novices without previous animation experience

  • Easily modifiable preset models

  • Ready-made animation categories

  • Intuitive editing

  • Options for advanced animators



CONS

  • Facial profiles are difficult to tweak

  • Additional content incurs extra costs
  • Rendering options still limited

  • Not a true 64-bit application



A speedy solution for pre-viz but hampered by limited content options, basic render settings, and lack of true 64-bit support

About the author


Paul Champion is the demonstrator for undergraduate and postgraduate 3D and VFX courses at the National Centre for Computer Animation, Bournemouth

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